for a short time the troupe toured across
Russia. A. married Heine, acted for a certain
time in Latvia, and traveled from there with the
troupe to London, where she acted in several bad
productions, to the point that she generally wanted to retire from the Yiddish stage.
Under the same
conditions she also acted here in a troupe with
Adler when he was on top, and after that after
both troupes united, A. acted for a short
time in London. A. traveled together with Heine
in 1883 to America, where she performed under
management of Moshe Zilberman in Turnhalle as
the prima donna for Shomer's "Di itumim (The
Orphans)", later going over to the Oriental
Theatre. After that she received a divorce from
Heine, while also performing at the Oriental
A. then began to act
in the troupe of Finkel-Feinman-Mogulesko, and
there she performed as the first actress in both
dramatic and operatic repertoire. Afterwards
she went over to the 8th Street Theatre, where
"there could be acted a pure dramatic
In 1886 (Jacob P.) Adler came
from London, and after acting for a short time
together, she married him, and from then on
followed the same path as he did, going fully
into dramatic repertoire.
In 1917 A.
participated in the Russian production of "Kazn",
and in the Ukrainian production of "Zhidovka
In 1918 she toured
for a year with actor Izidor Buzet across the
In 1919-20 she acted
together with Adler, H. Buzet, and her children
Frances and Stella in London, and in 1921 under
Buzet's direction in London. Afterwards she came
back to America and toured across the province
with the Yiddish and German theatres.
Until 1926 she led
small troupes across the province.
In 1926-7 A. acted
for Gabel in the People's Theatre.
In 1927-8 she again
toured across the province, and since then has acted only from time to time.
Her best roles were:
"Mina" in Kobrin's "Mina", "Fanya
Gordin's "Di emese kraft (The True Power)", "Bat
sheba" in Gordin's "On a heym (Homeless)", "Di
froy (the wife)" in Gordin's "Der fremder (The
Foreigner)", "Beata" in Gordin's "Elisha ben
abuyah", "Gitele" in Libin's "Gebrakhene hertser",
"Di mame" in Markovitsh's melodrama "A mames
trern", "Nora" from Ibsen, "Amalia" in
Schiller's "Royber (The Robbers)", "Katisha
maslova" in Tolstoy's "Tkhit hmtim", "Yelena" in
Tolstoy's "Kreutzer Sonata", and "Di tsigeygerin"
and "Sofya" in Tolstoy's "Lebediker mt (Living
A.'s five children
with Adler: Frances, Izzy, Julia, Stella and
Luther are all connected to the stage.
B. Gorin --
"History of Yiddish Theatre", Vol. I, pp.
234, 242; Vol. II, p. 30.
-- "Erinerungen fun a idishen dramaturg",
New York, II, pp. 115-9.
-- Erinerungen vegen idishen teater,
"Forward", New York, 24 April 1927.
Minikes -- "Di idishe bihne", New York, 1897
(M. Zeifert's "Teater-Geshikhte").
Thomashefsky -- "Mayn lebens geshikhte
(My Life Story)", New
York, 1916, pp. 133-5, 141.